Marina Warner





Marina Warner

Author profile


born
in London, The United Kingdom
November 09, 1946

gender
female

website

genre


About this author

Marina Sarah Warner is a British novelist, short story writer, historian and mythographer. She is known for her many non-fiction books relating to feminism and myth.

She is a professor in the Department of Literature, Film and Theatre at the University of Essex, and gave the Reith Lectures on the BBC in 1994 on the theme of 'Managing Monsters: Six Myths of Our Time.'



Average rating: 3.84 · 2,731 ratings · 270 reviews · 68 distinct works · Similar authors
From the Beast to the Blond...
4.15 of 5 stars 4.15 avg rating — 490 ratings — published 1994 — 4 editions
Alone of All Her Sex
by
4.03 of 5 stars 4.03 avg rating — 152 ratings — published 1976 — 9 editions
No Go the Bogeyman: Scaring...
by
4.04 of 5 stars 4.04 avg rating — 111 ratings — published 1998 — 3 editions
Six Myths of Our Time: Litt...
3.69 of 5 stars 3.69 avg rating — 78 ratings — published 1995
Indigo
3.56 of 5 stars 3.56 avg rating — 84 ratings — published 1992 — 3 editions
Phantasmagoria: Spirit Visi...
4.05 of 5 stars 4.05 avg rating — 63 ratings — published 2006 — 2 editions
Wonder Tales: Six French St...
by
3.96 of 5 stars 3.96 avg rating — 75 ratings — published 1994 — 8 editions
Joan of Arc: The Image of F...
3.74 of 5 stars 3.74 avg rating — 65 ratings — published 1999 — 7 editions
The Time Machine
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3.78 of 5 stars 3.78 avg rating — 115,031 ratings — published 1895 — 558 editions
Fantastic Metamorphoses, Ot...
3.74 of 5 stars 3.74 avg rating — 38 ratings — published 2002 — 3 editions
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“A society that doesn't know any longer how to observe every death with proper rituals, that does not know that death is not the end, but only part of the journey, has lost its way, has had the very heart of its humanity torn out.”
Marina Warner, The Leto Bundle

“The store of fairy tales, that blue chamber where stories lie waiting to be rediscovered, holds out the promise of just those creative enchantments, not only for its own characters caught in its own plotlines; it offers magical metamorphoses to the one who opens the door, who passes on what was found there, and to those who hear what the storyteller brings. The faculty of wonder, like curiosity can make things happen; it is time for wishful thinking to have its due.”
Marina Warner, From the Beast to the Blonde: On Fairy Tales and Their Tellers

“Angela Carter...refused to join in rejecting or denouncing fairy tales, but instead embraced the whole stigmatized genre, its stock characters and well-known plots, and with wonderful verve and invention, perverse grace and wicked fun, soaked them in a new fiery liquor that brought them leaping back to life. From her childhood, through her English degree at the University of Bristol where she specialised in Medieval Literature, and her experiences as a young woman on the folk-music circuit in the West Country, Angela Carter was steeped in English and Celtic faerie, in romances of chivalry and the grail, Chaucerian storytelling and Spenserian allegory, and she was to become fairy tale’s rescuer, the form’s own knight errant, who seized hold of it in its moribund state and plunged it into the fontaine de jouvence itself.

(from "Chamber of Secrets: The Sorcery of Angela Carter")”
Marina Warner



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